Okay fellas. Let me bring you up to speed on things: writing is confusing. There are characters and dialogue and dramatic irony and scene visualization... you get it, the list goes on and on. Even the professionals don't know where to begin. Now that's where I come in. Critics help authors improve and reach out to their readers with brand spanking new stories. Tonight (Friday the 20th of September). I will be answering any and all question coming my way on writing on this forum. Ready? Set! Ask away!

It's definitely one we all struggle with. The first step is to really find what is stopping you. It could be that you're too busy or have some writer's block or even a case of procrastination. Then work from there.

Writer's Block: Every Writer's Worst Fear

Find your inspiration. If it is music, listen to music. If it is art, find art to inspire you. (Of course, I'm speaking from personal experience)

Is there an option that leads to a battle involving two nonwinged ponies jumping between two dueling airships on a collision course with Canterlot? If so, choose that one. If not, make one up that leads to that.

I mean plot options. Like character A can do either action X Y or Z and it will slightly alter the story, without actually completely changing the ending.

Like how some video games have different options to choose, which all lead to a different ending, but the story usually still has the same basic shape. (Same enemies, same boss, same levels, just a different ending cutscene)

1. How do I properly evoke cuteness? I need a young adult character to be puppy tier cute for a fic.

First thing to know is that every reader is not going to be as excited to see Derpy sad when she doesn't get muffins. If the story is already published, you might want to consider seeing what your audience likes and stick with it. Get to know your readers!

Writing wise, use a lot of mood and visualization to paint "adorable" all of that scene. Don't go overboard (because that could upset the exposition's balance), but just let the reader know that this is suppose to be cute as hell.

2. Would a cohesive and effective team that can solve most problems with some planning, annoy or scare readers in any way? I can still smell the Mary Sue paranoia up to these days.

You see: that's the problem. Characters don't need to be deep but need to have two elements: a.)diversity: every character is unique and a character is not 100% of one trait and b.) responsive: make sure the character is affect on an emotional level by events and other characters.

Let me tell you something about myself: If I were to do stand up comedy, the audience would boo me off the stage before a word comes out of my mouth. So not much there... However, from personal experience, be yourself; that's when people can really enjoy you and your humor.

Can you teach me how to write good characters?

Characters tough and require much more thought than a four hour Q&A session, but the best advice I can give is here:

Characters don't need to be deep but need to have two elements: a.)diversity: every character is unique and a character is not 100% of one trait and b.) responsive: make sure the character is affect on an emotional level by events and other characters.

More seriously though, which way lets you to best show the aspects of the the character or setting you want to get across? Not all of them will be equal on that front.

If you wanted to make a point about your character's persistence, one option is likely better than the others. If you wanted to show how horrible the main villain is, surely one of those choices would be more natural for that?

You really just need to decide what points you want to make, what themes you want to express, and really, what story you want to tell.

>>17921191792119 I see now. I'm not an avid gamer but I'm glad you brought that up:

I'm sure in the RPG video game industry they do something every writer should try at one point. They sit down while writing the script and consider a very simple school of thought: cause and effect. Layout your consequences, find the best way to carry it out and do it.

First thing to know is that every reader is not going to be as excited to see Derpy sad when she doesn't get muffins.

Ugh, don't remind me. I'm sick of Derpy.

If the story is already published, you might want to consider seeing what your audience likes and stick with it. Get to know you're readers!

Basically, find a voice and apply it to this particular purpose.

Writing wise, use a lot of mood and visualization to paint "adorable" all of that scene. Don't go overboard (because that could upset the exposition's balance), but just let the reader know that this is suppose to be cute as hell.

Got it.

Characters don't need to be deep but need to have two elements: a.)diversity: every character is unique and a character is not 100% of one trait and b.) responsive: make sure the character is affect on an emotional level by events and other characters.

You see, many people like to put a past trauma behind a character but forget to really put it behind a character. Make sure he/she is truly effected by it. Don't make it the center of their universe, but make it noticeable the character is struggling to get over it. Let it effect her/his decisions and reactions but never mind it blatantly obvious either.

Okay, a more serious take on the topic this time, from the thread earlier.

Be subtle about it. It becomes incredibly obvious when an author is trying to hard to be emotionally manipulative, and playing for the 'feels'. You're right to avoid the angstiness too. You'll earn more sympathy for it being a kid than you would with an adult, sure, but not even a kid is immune to the fact that misery just isn't engaging. Nobody is going to like, or get attached to a character that starts off depressing.

Before you reveal the horrible things that happened, make sure that we actually like the character, or we won't care that bad things happen to her. But do hint at it on the way. Have the character shy away from contact maybe, or have her get uncomfortable when someone gets behind her, or have her assume the worst of people's intentions.

I was talking to a friend yesterday about those times when during a story an incredibly effective method to solve problems is introduced and for some reason never done again. That one image with advice from Pixar says that you should come up with different ways to solve problems but at times it just doesn't seem reasonable to go fight a monster head-on when you had a muffled sniping bazooka introduced on the last chapter.

Is this really an encouraged practice on fiction to keep readers surprised and interested or just some authors forgetting everything after it loses its first moment of relevance?

And, should a really practical method be re-used as long as it's the most logical thing to do or it's better to try to throw it away for novelty's sake?

And, should a really practical method be re-used as long as it's the most logical thing to do or it's better to try to throw it away for novelty's sake?

FiM has had four major villains.

Two of them were stopped by the holy superweapon, and both times it was used, it required some quest or trial to use. One time it was actually hinted that it would be used, in the Canterlot Wedding, but it ended up not being the case.

And heck, in Magic Duel, the writers tried their best to make us think the EoH was the solution, but it ended up not being that at all.

Why do they do all that? Well, because having the giant, unstoppable solution, the 'I win button' to every problem is boring. Yet, don't actually pretend it doesn't exist. The Elements of Harmony is vital to the plot in other ways, and we never forget they're there.

In the same way, try to find reasons for the heroes not to use the same answer to every problem, but do acknowledge it.

To be honest, a "one size fits all" solution should never be introduced. For one reason: the next issue is easily resolved and if you don't use it, the reader will ask "Well, why the hell didn't use the ultimate weapon thingy?"

In other words, if you want to stay away from things that halt the development of your story.

First 500 words: is one of the most important parts of a story. It's the exposition! It's the dough of the story to the reader.

What turns me off the most: When a writer makes me swallow the massive pill marked "HISTORY LESSON." The author is introducing a whole new world to me and he just threw an amazing opportunity away by simply telling me the back story.

What draw me in the most: When a writer shows me a new character that feels well built and knows his motor. I just love that. It shows that the author has planned his story, knows his characters and where he is going to take them.